Music Is One Of The Other Key Elements From Coca Cola To Create Its Own Brand. The Stories Around The

Jueves 04 de Noviembre de 2021 𝓑𝓾𝓮𝓷𝓸𝓼 𝓭𝓲́𝓪𝓼 𝓫𝓮𝓵𝓵𝓪𝓼 𝓶𝓾𝓳𝓮𝓻𝓮𝓼! 🌞 Devocional: “La buena semilla”

🔸Si confesares con tu boca que Jesús es el Señor, y creyeres en tu corazón que Dios le levantó de los muertos, serás salvo. Romanos 10:9

📌No tenían conocimiento de Dios Lectura propuesta: 1 Samuel 2: 12-17

💖 La historia de los dos hijos del sacerdote Elí nos llama la atención. Ofni y Finees fueron criados en una familia que servía a Dios, pero no heredaron la piedad de su padre. Al contrario, se atrevieron a usar su posición de sacerdotes para su propio beneficio. La razón principal de su mala conducta era que no conocían a Dios: “Los hijos de Elí eran hombres impíos, y no tenían conocimiento del Señor” (1 Samuel 2:12).

💖 Por supuesto, sabían que Dios existía, conocían el ritual del servicio religioso, las fechas y las estaciones de las ofrendas especiales y de las fiestas anuales. Incluso conocían las leyes concernientes a cada tipo de ofrenda; no obstante, hacían las cosas para su propio beneficio. ¡Pero conocer los rituales no significa conocer a Dios! Podían repetir oraciones aprendidas de memoria, pero no habían tenido un encuentro personal con Dios.

💖 El verdadero conocimiento de Dios es el resultado de la fe en él. Dios se da a conocer al que lo busca. Todas las personas que lo deseen pueden encontrarlo hoy y ser liberados de sus pecados, si creen en su Hijo Jesús y en el valor de su obra. Este encuentro, que nos establece en una relación viva con Dios, es fundamental.

💖 Los hijos de Elí nunca tuvieron este encuentro inicial con Dios. ¡Su ejemplo es una advertencia muy seria! ¡Los ritos religiosos no nos salvan! Al contrario, pueden volvernos insensibles al estado de nuestro propio corazón y hacernos menospreciar a Dios. Lo que importa no son solo nuestros actos, sino nuestro corazón, pues Dios desea “la verdad en lo íntimo” (Salmo 51:6).

Labuenasemilla.net ¡Bendiciones para todas!

Con amor 𝓣𝓪𝓷𝓲𝓪 𝓜 𝓞𝓵𝓼𝓼𝓸𝓷 🙏📖🕯💐🙋🏻‍♀‍ . #Dios #mujeres #cristianos #dmujercristiana #dmujercristianadevocional #devocional #labuenasemilla #flores🌸#flores🌺#mujerdefe #mujervirtuosa #mujerpiadosa #mujercristiana #mujerdedios (en Paraguay, Paraguay) https://www.instagram.com/p/CV13A29rliM/?utm_medium=tumblr

Absolutely fascinating read on why “psychological androgyny” is key to creativity 

Numbers? Numbers?

Who said numbers?!

Hey, first of all, let me explain the difference between a real person and a fake one.

Fake ones count like the stars

Real ones, hard to find

Fakes Ones like acceptance (that’s why they use other people and/or other people post)

Real ones, stand by themselves, because they know their values and what they stand for

Fake ones, do not like rejection

Real ones, know who they are, and their values is on themselves, not in the crowd.

Fake ones, go for popularity

Real ones, WTF, I’m not a number, but a fucking human being, bad ass, with a word to say to shout out, because that word defines me and makes me who I am.

Just to make clear about the numbers.

Remember: Comparison is the thief of joy. No matter how high you climb, it’s always easy to worry about who has climbed higher, or if you are climbing fast enough.   I keep this quote on my writing desk and stare at it every day to remind myself never to compete against anyone except myself. There will always be someone better, and there will always be someone else who believes that I am better than they are. It doesn’t matter a whit—what matters is your heart and your drive. And nothing else.

Lisa Amowitz is the author of fantasy/thrillers for young adults, including Until Beth. She is also a cover designer and a professor of Graphic Design at Bronx Community College.

Writer’s Care Packages from Camp NaNoWriMo and We Need Diverse Books.

(via nanowrimo)

How should I go about describing a character who goes through a lot, becoming more disheveled and desperate as the plot goes on?

Desperation is the emotion that drives characters to their limits, leading to their most intense and extreme behaviours.

By showing how characters become more desperate as your plot progresses, you can create characters that are interesting, dynamic, and relatable.

Here are some ways you can show desperation in your characters. As the plot moves forward, these elements can get worse, showing their decline.

How do they behave?

Obsessive and/or compulsive

Repetitive actions like hand wringing, or overuse of stock phrases

Self-destructive and risk-seeking

Enhanced aggression

Avoidant and isolationist

Manipulative

Exploitative

Short-tempered

Impulsive decision-making

Unrelenting pursuit of something

What physical signs do they show?

Heart palpitations and short, rapid breathing

Sweating profusely

Shaking or trembling

Sudden onset of nausea

Feeling weak or dizzy

Muscle tension

Headaches

Insomnia caused by worry and stress

Feelings of fatigue

Stomach pain and cramping

How do they interact?

Begging or pleading with others

Manipulating others to get what they want

Increasing paranoia and questioning other's motives

Pushing away loved ones

Becoming overly clingy

Either an inability to trust or being too quick to trust others

Self-sabotage

Single-focus conversations

What do they look like?

Unkempt hair and poor hygiene

Rumpled, slept-in clothing

Nervous tics, like fidgeting, pacing, or picking at nails

Extreme and unexplained weight loss

A haunted, faraway, or panicked look

Dark-rimmed, bruised eyes from lack of sleep or exhaustion

A constant sheen of sweat and clammy skin

Unusual clothing choices

What body language do they display?

Hunching over, as if trying to protect themselves

Fidgeting or pacing

Avoiding eye contact

Clenching fists or grinding teeth

Sweating or shaking

Staring intently at something

Repeatedly touching hair or face

Darting eyes and biting lips

Meek and under-confident stance

Pleading look

What is their attitude?

Feeling hopelessness

Sad and dejected

Becoming increasingly irrational

A loss of faith in themselves and others

Obsession to the point of resorting to extreme measures

A sense of helplessness

Blaming others

Feeling powerless

A sense of urgency

What are some positive things that can come out of desperation?

Increased motivation to achieve their goals or solve their problems

Resilience and adaptability in the face of adversity

Heightened creativity and resourcefulness

The ability to form deep and meaningful connections with those who share their struggles

Catharsis or character growth through their struggles

What are some negative things that can come out of desperation?

A tendency to become self-destructive or engage in risky behaviour

Difficulty forming and maintaining healthy relationships

Increased isolation or loneliness

Chronic stress and physical health problems

A tendency to make impulsive or irrational decisions

Prone to depression and anxiety

Writing is not a fanciful venture. It is the most meaningful, purest step forward in your own personal art. Do not diminish the importance and power in your own fingers tapping at your keyboard or wrapped around a pencil. This is the moment in which you embrace the might of your creation.

Karuna Riazi is an online diversity advocate, essayist and overwhelmed undergrad student. Her debut novel, The Gauntlet of Blood and Sand, will be released in 2017 under Simon and Schuster’s new Salaam Reads imprint.

Writer’s Care Packages from Camp NaNoWriMo and We Need Diverse Books.

(via nanowrimo)

I have a few stories on the back burner but one that I'm trying to wrap my head around is about two characters who find themselves as leaders of their kingdoms. Both characters are juxtaposed with conflicting worldviews, and personality traits which has them hating each other. The issue I'm having is finding their purpose. Stuff that they believe in. I'm a little worried that these two characters will just end up being 2-dimensional.

Opposing Leaders Still Need a Conflict

You have a good start to the story, but there needs to be a conflict. The conflict can't just be that they hate each other. What is the problem that needs to be solved in their external world and/or their internal worlds? That's the conflict.

These characters have conflicting worldviews, but what does that actually mean in your story? What are the issues in these kingdoms or in the story world where these characters stand in moral opposition? A good example would be in A Song of Ice and Fire, when Daenerys Targaryen came into power, she was opposed to slavery, which put her in opposition with the many leaders in Essos who upheld it. Another example would be the members of the rebellion in The Hunger Games, who were opposed to the brutal and oppressive regimes of the Capitol, which put the rebels in opposition with the current President Snow and his regime.

Without a conflict, you don't have a story. But the conflict doesn't have to be a problem in the character's exterior world. It could be a problem within the characters themselves. For example, you could do an exploration of the internal conflicts at the heart of their worldviews (or perhaps as a result of them), and then do a change arc with each character where they change for the better or worse as a result of the story events. And you could have these arcs happen in parallel, where they're both going through similar arcs for different reasons, or they can be opposing, where they still end up in opposite places.

By making sure your story has a conflict, you can ensure that there's a purpose to the story, and that purpose gives your characters purpose and gives your story a foundation to build upon. :)

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I’ve been writing seriously for over 30 years and love to share what I’ve learned. Have a writing question? My inbox is always open!

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'Imagine your OTP' Prompts

Imagine your OTP in these scenarios and write it.

Fluffy fluff

Imagine your OTP where Person A is learning a new language and likes to say a few words to Person B in that language every day. They say it means random things, like “the door is open” but it really is a love confession. + if Person B finds out what it really means ++ if Person B answers one day

Imagine your OTP saying I love youto each other five times without the actual (romantic) meaning of it. + if one time they say it right

Imagine your OTP where Person A doesn’t have a birthday so Person B says they are allowed to choose the date. And they choose a day that they associate with Person B.

Imagine your OTP trying to bake cookies together and failing beautifully. It’s one big mess and in the end, they are lying on the floor, covered in flour and not able to stop smiling.

Imagine your OTP with Character A secretly learning Character B’s mother language to say stupid pick-up lines to them.

Supportive fluff

Imagine your OTP where Person A is really passionate about a social injustice and wants to go to a demonstration. Person B is not affected by that injustice, but turns up at Person A’s house with protest signs.

Imagine your OTP being next door neighbours that don’t know each other. But after a particular long night out Person A can’t unzip their dress (or can’t get the knot out of their horribly tied tie; get creative!) and they’re home alone. After struggling for a long time, they have to accept that they need help. And that’s what brings them to Person B’s door in the middle of the night.

Imagine your OTP where Person A would like to have a child, but doesn’t want to wait for a spouse and a nice house any longer, so they find Person B to co-parent with them.

Chaotic fluff

Imagine your OTP where Persons A + B always fight with each other, but they have a common friend and they both plan a surprise party for Person C’s birthday. + if they find out about the other party and try to sabotage them ++ if they have to cooperate eventually

Imagine your OTP trying to cook an elaborate dinner for their friends/families but it’s possible that they exaggerated a little bit while talking about their cooking skills and now they have to face the chaos together.

Imagine your OTP where Persons A & B sit together in class and Person A never brings anything so they always steal everything from Person B. + if Person B finally has enough

Imagine your OTP where both partners want to surprise the other one with a wonderful date but all of their cleverly thought-out plans fail and it looks like this is going to go down in history as the worst Valentine’s Day ever. + if it’s actually not that bad in the end

Imagine your OTP where Character A and B both applied to the same job and now have to work together for a day, before it gets decided who gets the job.

Imagine your OTP where the friends of Characters A and B try to be matchmakers on Halloween and get them each in one part of a couple’s costume without them knowing. + if they only find out they form a couple’s costume because people at the party keep coming up to them to tell them how cute they are ++ if they only see each other later in the night to see if everyone’s right about them

Imagine your OTP where Person A works in retail and Person B keeps coming into the shop and asks for help with the most ridiculous things. + if Person A loses it one day and confronts Person B about their motive

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can you give tips on how to change up character dialogue? all of my characters end up sounding the same and i'm not sure how to fix it

How to Write Unique Voices for Characters in Fiction

When it comes to writing fiction, creating unique and believable characters is absolutely essential. One important aspect of character development is crafting unique voices that reflect each character’s personality and background.

Understand your characters

Before you can write distinct voices for your characters, it’s important to understand who they are. Building out a solid foundation and developing compelling backstories is one of the best ways to ensure they always have unique voices. Here are some tips for getting to know your characters:

Write character sketches that detail their backgrounds, personalities, goals, and motivations.

Conduct interviews with your characters as if they were real people, asking them about their likes and dislikes, fears, goals, and more (the Proust questionnaire is a popular way to do this).

Imagine how your characters’ past experiences will change how they speak in different situations and when experiencing varied emotions.

Use description to enhance your characters’ voices

Descriptions can be just as important as dialogue when it comes to creating character voices. Here are some tips for using descriptions to enhance your characters’ personalities:

Use specific details to create vivid descriptions of each character’s body language, mannerisms, and behaviour.

Consider how each character’s mannerisms might influence their speech patterns. For example, a character who is shy might be hesitant to speak or repeat themselves frequently.

Pay attention to how your characters interact with their environment. Do they use their hands a lot when they speak? Do they pace around the room or sit still?

Use sensory details to create immersion. For example, a character who is nervous might sweat profusely or fidget with their jewellery.

Avoid stereotypes and clichés

When writing unique voices for characters, it’s important to avoid falling back on stereotypes or clichés. Here are some tips for creating characters that feel fresh and authentic:

Avoid using dialects or accents. Not only do these often rely on stereotypes, but they also break reader immersion unless authenticity is absolutely essential to the type of book you are writing.

Consider how each character’s background and experiences might influence their beliefs and values. One-dimensional characters built on clichés won’t have unique voices.

Think outside of the box when it comes to creating distinct voices. Instead of relying on traditional archetypes, consider combining traits from multiple sources to create something new.

How to craft unique dialogue

With the basics in place, how do we convert unique character voices into dialogue? Here are some tips for writing dialogue that feels authentic and unique to each character:

Read your dialogue out loud to hear how it sounds, and make sure it’s true to how you imagine your character to be.

Give your characters a unique conversational quirk that feels natural. An example could be that they call everyone “love.”

Vary the length and complexity of sentences to reflect each character’s personality and background.

Consider how each character’s education and experiences might influence their vocabulary and sentence structure.

Use dialogue tags sparingly to avoid detracting from the actual words being spoken.

Avoid using too much exposition or explaining too much in dialogue. Instead, let the characters speak when it serves your story.

By understanding your characters, crafting unique dialogue, using descriptions to enhance character voices, and avoiding stereotypes and clichés, you can create vibrant, engaging characters that will keep readers hooked from start to finish.